Neural Basis of Acquired Amusia and Its Recovery After Stroke
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Absolute and Relative Pitch Processing in the Human Brain: Neural and Behavioral Evidence
bioRxiv preprint doi: https://doi.org/10.1101/526541; this version posted March 18, 2019. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY 4.0 International license. Absolute and relative pitch processing in the human brain: Neural and behavioral evidence Simon Leipold a, Christian Brauchli a, Marielle Greber a, Lutz Jäncke a, b, c Author Affiliations a Division Neuropsychology, Department of Psychology, University of Zurich, 8050 Zurich, Switzerland b University Research Priority Program (URPP), Dynamics of Healthy Aging, University of Zurich, 8050 Zurich, Switzerland c Department of Special Education, King Abdulaziz University, 21589 Jeddah, Kingdom of Saudi Arabia Corresponding Authors Simon Leipold Binzmühlestrasse 14, Box 25 CH-8050 Zürich Switzerland [email protected] Lutz Jäncke Binzmühlestrasse 14, Box 25 CH-8050 Zürich Switzerland [email protected] Keywords Absolute Pitch, Multivariate Pattern Analysis, Neural Efficiency, Pitch Processing, fMRI Acknowledgements This work was supported by the Swiss National Science Foundation (SNSF), grant no. 320030_163149 to LJ. We thank our research interns Anna Speckert, Chantal Oderbolz, Désirée Yamada, Fabian Demuth, Florence Bernays, Joëlle Albrecht, Kathrin Baur, Laura Keller, Marilena Wilding, Melek Haçan, Nicole Hedinger, Pascal Misala, Petra Meier, Sarah Appenzeller, Tenzin Dotschung, Valerie Hungerbühler, Vanessa Vallesi, -
Absolute Pitch (AP)
Absolute Pitch (AP) • A.k.a. ‘perfect pitch’ • The ability to name or produce a tone without a reference tone • Very rare: 1 in 10,000 Vs. Relative pitch (RP) • Most people use relative pitch: • Recognizing tones relative to other tones • Remember and produce intervals abstracted from specific pitch, or given a reference pitch AP: how it works • Thought to be a labeling process: – AP possessors associate names/ meaning with pitches or pitch classes – Retain this association over time • AP is not ‘perfect’; i.e., auditory perception/ pitch discrimination not more accurate than RP Imaging evidence • When making judgments using AP: • possessors compared to non- possessors show more activation in frontal naming/labeling areas • Anatomically, AP possessors show greater planum temporale asymmetry – Apparently due to reduced RH PT size AP ‘flavors’ • AP not purely ‘have’ or ‘have-not; ability level varies along continuum • Some possessors make more accurate judgments with certain instruments – e.g. piano vs. pure sine wave tones – Sometimes called ‘absolute piano’ AP ‘flavors’ cont’d • Other possessors may perform more accurately with white-key notes than black-key notes – E.g. C,D,E vs. C#, D# • May be due to early learning influence – Early musical training on keyboard usually starts with white-key notes only • So, is AP learned? Learnable? Nature vs. Nurture, of course • The debate continues: – Some researchers ascribe genetic origins to AP, suspecting that early musical training is neither sufficient nor necessary – Others find most possessors -
Transposition, Hors-Série 2 | 2020, « Sound, Music and Violence » [Online], Online Since 15 March 2020, Connection on 13 May 2020
Transposition Musique et Sciences Sociales Hors-série 2 | 2020 Sound, Music and Violence Son, musique et violence Luis Velasco-Pufleau (dir.) Electronic version URL: http://journals.openedition.org/transposition/3213 DOI: 10.4000/transposition.3213 ISSN: 2110-6134 Publisher CRAL - Centre de recherche sur les arts et le langage Electronic reference Luis Velasco-Pufleau (dir.), Transposition, Hors-série 2 | 2020, « Sound, Music and Violence » [Online], Online since 15 March 2020, connection on 13 May 2020. URL : http://journals.openedition.org/ transposition/3213 ; DOI : https://doi.org/10.4000/transposition.3213 This text was automatically generated on 13 May 2020. La revue Transposition est mise à disposition selon les termes de la Licence Creative Commons Attribution - Partage dans les Mêmes Conditions 4.0 International. 1 TABLE OF CONTENTS Introduction Introduction. Son, musique et violence Luis Velasco-Pufleau Introduction. Sound, Music and Violence Luis Velasco-Pufleau Articles Affordance to Kill: Sound Agency and Auditory Experiences of a Norwegian Terrorist and American Soldiers in Iraq and Afghanistan Victor A. Stoichita Songs of War: The Voice of Bertran de Born Sarah Kay Making Home, Making Sense: Aural Experiences of Warsaw and East Galician Jews in Subterranean Shelters during the Holocaust Nikita Hock Interview and Commentaries De la musique à la lutte armée, de 1968 à Action directe : entretien avec Jean-Marc Rouillan Luis Velasco-Pufleau From Music to Armed Struggle, from 1968 to Action Directe: An Interview with Jean-Marc -
Beyond Music and Beyond Words: a Psychoanalytic Inquiry
STUDIJE O MUZIČKOJ UMETNOSTI/STUDIES ON MUSIC Miloš Zatkalik UDC 78.01 Univerzitet umetnosti u Beogradu doi:10.5937/ZbAkUm1801089Z Fakultet muzičke umetnosti Original scientific paper Aleksandar Kontić Visoka škola likovnih i primenjenih umetnosti u Beogradu. Beyond music and beyond words: A psychoanalytic inquiry Abstract. Relationships between language and music have always been lively and dynamic, from their syncretic unity in rituals, to setting text to music, verbal accounts of musical works, musicalization of literature, to abundance of linguistic and literary metaphors in discourse about music. Both language and music unfold in time; both possess a hierarchy of elements that are combined according to a set of rules. This paper will first indicate some linguistic (primarily syntactic) concepts that inform music theory. An analogy can also be established between the Chomskyan concept of the deep structure of language and Schenkerian Ursatz. Music, however, is not always organized along the lines of syntactic hierarchy. Music is also capable of simultaneity in a way inaccessible to language. In order to negotiate this ambiguous relationship between music and language, we invoke the psychoanalytic model of the mind. It postulates that the archaic experience of the world is associated with the auditory sphere. This auditory, pre-verbal mode of conceiving the world will gradually yield to subsequent developmental phases: the visual, and then verbal communication. The deep structure of music is necessarily analogous to verbal structures. However, owing to its pre-verbal origin, music is also organized according to the more archaic modes of mental functioning. For instance: the precepts of logic do not apply; music allows condensation much more readily than language. -
ISSN -2347-856X ISSN -2348-0653 International Journal of Business and Administrati
Research Paper IJBARR Impact Factor: 3.072 E- ISSN -2347-856X ISSN -2348-0653 MUSIC IS AN ART AND SCIENCE Prof. P.Thenmozhi Associate Professor and Head, Department of Home Science, Seethalakshmi Ramaswami College, Tiruchirappalli,,India. Music is an art form whose medium is sound and silence. Its common elements are pitch (science which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses").The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics (Talas-counts). Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. Music is a miniature of the harmony of the whole universe, for the harmony of the universe is life itself, and humans, being a miniature of the universe, show harmonious and inharmonious chords in their pulsations, in the beat of their hearts, in their vibration, rhythm and tone. Their health or illness, their joy or discomfort, all show the music or lack of music in their life.Tanjore is to Carnatic Music where Germany is to Western Music. Music is the language of our soul and the soul is the residence of our spirituality. -
Frequency Ratios and the Perception of Tone Patterns
Psychonomic Bulletin & Review 1994, 1 (2), 191-201 Frequency ratios and the perception of tone patterns E. GLENN SCHELLENBERG University of Windsor, Windsor, Ontario, Canada and SANDRA E. TREHUB University of Toronto, Mississauga, Ontario, Canada We quantified the relative simplicity of frequency ratios and reanalyzed data from several studies on the perception of simultaneous and sequential tones. Simplicity offrequency ratios accounted for judgments of consonance and dissonance and for judgments of similarity across a wide range of tasks and listeners. It also accounted for the relative ease of discriminating tone patterns by musically experienced and inexperienced listeners. These findings confirm the generality ofpre vious suggestions of perceptual processing advantages for pairs of tones related by simple fre quency ratios. Since the time of Pythagoras, the relative simplicity of monics of a single complex tone. Currently, the degree the frequency relations between tones has been consid of perceived consonance is believed to result from both ered fundamental to consonance (pleasantness) and dis sensory and experiential factors. Whereas sensory con sonance (unpleasantness) in music. Most naturally OCCUf sonance is constant across musical styles and cultures, mu ring tones (e.g., the sounds of speech or music) are sical consonance presumably results from learning what complex, consisting of multiple pure-tone (sine wave) sounds pleasant in a particular musical style. components. Terhardt (1974, 1978, 1984) has suggested Helmholtz (1885/1954) proposed that the consonance that relations between different tones may be influenced of two simultaneous complex tones is a function of the by relations between components of a single complex tone. ratio between their fundamental frequencies-the simpler For single complex tones, ineluding those of speech and the ratio, the more harmonics the tones have in common. -
Toward a New Comparative Musicology
Analytical Approaches To World Music 2.2 (2013) 148-197 Toward a New Comparative Musicology Patrick E. Savage1 and Steven Brown2 1Department of Musicology, Tokyo University of the Arts 2Department of Psychology, Neuroscience & Behaviour, McMaster University We propose a return to the forgotten agenda of comparative musicology, one that is updated with the paradigms of modern evolutionary theory and scientific methodology. Ever since the field of comparative musicology became redefined as ethnomusicology in the mid-20th century, its original research agenda has been all but abandoned by musicologists, not least the overarching goal of cross-cultural musical comparison. We outline here five major themes that underlie the re-establishment of comparative musicology: (1) classification, (2) cultural evolution, (3) human history, (4) universals, and (5) biological evolution. Throughout the article, we clarify key ideological, methodological and terminological objections that have been levied against musical comparison. Ultimately, we argue for an inclusive, constructive, and multidisciplinary field that analyzes the world’s musical diversity, from the broadest of generalities to the most culture-specific particulars, with the aim of synthesizing the full range of theoretical perspectives and research methodologies available. Keywords: music, comparative musicology, ethnomusicology, classification, cultural evolution, human history, universals, biological evolution This is a single-spaced version of the article. The official version with page numbers 148-197 can be viewed at http://aawmjournal.com/articles/2013b/Savage_Brown_AAWM_Vol_2_2.pdf. omparative musicology is the academic comparative musicology and its modern-day discipline devoted to the comparative study successor, ethnomusicology, is too complex to of music. It looks at music (broadly defined) review here. -
Perception of Relative Pitch with Different References: Some Absolute
Perception & Psychophysics 1995. 57 (7). 962-970 Perception ofrelative pitch with different references: Some absolute-pitch listeners can't tell musical interval names KEN'ICHI MIYAZAKI Niigata University, Niigata, Japan 1\\'0 experiments were conducted to examine the effect of absolute-pitch possession on relative pitch processing. Listeners attempted to identify melodic intervals ranging from a semitone to an oc tave with different reference tones. Listeners with absolute pitch showed declined performance when the reference was out-of-tune C,out-of-tune E, or F#, relative to when the reference was C.In contrast, listeners who had no absolute pitch maintained relatively high performance in all reference conditions. These results suggest that absolute-pitch listeners are weak in relative-pitch processing and show a ten dency to rely on absolute pitch in relative-pitch tasks. One ofthe most important areas in our auditory experi erty and could be regarded as a medium in which tonal ence where pitch is used in a highly elaborated manner is patterns occur. music. In music ofthe tonal harmonic idiom, pitch, in as People who have good absolute pitch have been admired sociation with time, provides a tonal space in which as highly talented musicians. Indeed, absolute pitch may melodic and harmonic events occur in a hierarchical man be quite useful in musical practice, particularly when tran ner. Musical tones have different degrees of stability de scribing a heard musical passage into a musical notation or pending on the established tonal context (Lerdahl, 1988; singing a complicated melody at first sight. However, it Piston, 1987). -
Affective Evaluation of Simultaneous Tone Combinations in Congenital Amusia
Neuropsychologia 78 (2015) 207–220 Contents lists available at ScienceDirect Neuropsychologia journal homepage: www.elsevier.com/locate/neuropsychologia Affective evaluation of simultaneous tone combinations in congenital amusia Manuela M. Marin a,n, William Forde Thompson b, Bruno Gingras c, Lauren Stewart d,e,nn a Department of Basic Psychological Research and Research Methods, University of Vienna, Liebiggasse 5, A-1010 Vienna, Austria b Centre for Cognition and its Disorders, Macquarie University, Sydney, NSW 2109, Australia c Institute of Psychology, University of Innsbruck, Innrain 52f, A-6020 Innsbruck, Austria d Department of Psychology, Goldsmiths, University of London, New Cross, London, SE14 6NW, United Kingdom e Center for Music in the Brain, Dept. of Clinical Medicine, Aarhus University & The Royal Academy of Music Aarhus/Aalborg, Denmark article info abstract Article history: Congenital amusia is a neurodevelopmental disorder characterized by impaired pitch processing. Al- Received 15 August 2014 though pitch simultaneities are among the fundamental building blocks of Western tonal music, affective Received in revised form responses to simultaneities such as isolated dyads varying in consonance/dissonance or chords varying in 27 September 2015 major/minor quality have rarely been studied in amusic individuals. Thirteen amusics and thirteen Accepted 2 October 2015 matched controls enculturated to Western tonal music provided pleasantness ratings of sine-tone dyads Available online 9 October 2015 and complex-tone dyads in piano timbre as well as perceived happiness/sadness ratings of sine-tone Keywords: triads and complex-tone triads in piano timbre. Acoustical analyses of roughness and harmonicity were Consonance conducted to determine whether similar acoustic information contributed to these evaluations in Emotion amusics and controls. -
Absolute Pitch
EXPLORING THE SELF-CONCEPT AND IDENTITY OF SYDNEY CONSERVATORIUM STUDENTS WITH AND WITHOUT ABSOLUTE PITCH. Julie O’Connor A thesis submitted in partial fulfilment of the requirements for the degree of Bachelor of Music (Music Education) (Honours), Sydney Conservatorium of Music, University of Sydney. 2006 ii Abstract Absolute Pitch (AP) is the ability to identify pitches without external references (Parncutt & Levitin, 2001). It is a rare ability that is more prevalent among musicians. This qualitative study explored the perceptions of Sydney Conservatorium of Music students through interviews, focusing on the value of AP possession, and implications for music self-concept. The study involved 12 Conservatorium University and High School students; six participants were self- nominated absolute pitch possessors, and the remaining six were categorised as relative pitch (RP) users. Through discussions of the value, prevalence and practicality of AP, the data suggested that AP is a highly desirable ability among Conservatorium students, and particularly valued by those who possess it. The results also suggested that RP students tend to have less positive self-concepts in aural perception and music theory, while having more positive self-concepts in other musical arenas. The majority of the AP participants had a desire to become a solo performer, and the RP participants’ tended to plan broader musical goals such as combining teaching and ensemble performance. These results suggested that the possession of AP has had a significant effect on the identity of these individuals. iii Acknowledgements First and foremost, I would like to thank my supervisor, James Renwick, whose insightful advice (and subtle pushing) inspired and motivated me throughout the study. -
The Montreal Protocol for Identification of Amusia Dominique T. Vuvan
The Montreal protocol for identification of amusia Dominique T. Vuvan, Sebastien Paquette, Geneviève Mignault-Goulet, Isabelle Royal, Mihaela Felezeu, and Isabelle Peretz Volume 50, Issue 2, pp 662-672, Behavior Research Methods DOI: https://doi.org/10.3758/s13428-017-0892-8 THE MONTREAL PROTOCOL FOR IDENTIFICATION OF AMUSIA 1 The Montreal Protocol for Identification of Amusia Vuvan, D.T. Skidmore College, Saratoga Springs, NY, United States and International Laboratory for Brain, Music, and Sound Research, Montreal, QC, Canada Paquette, S. Beth Israel Deaconess Medical Center, Harvard Medical School, Boston, MA, United States and International Laboratory for Brain, Music, and Sound Research, Montreal, QC, Canada Mignault Goulet, G., Royal, I., Felezeu, M., & Peretz I. International Laboratory for Brain Music and Sound Research Center for Research on Brain, Language and Music Department of Psychology, University of Montreal, Montreal, QC, Canada Running title: The Montreal Protocol for Identification of Amusia Corresponding author: Dominique Vuvan Department of Psychology Skidmore College Saratoga Springs (NY) United States 12866 T: +1 518 316 6092 E: [email protected] W: //www.skidmore.edu/psychology/faculty/vuvan.php THE MONTREAL PROTOCOL FOR IDENTIFICATION OF AMUSIA 2 Abstract The Montreal Battery for the Evaluation of Amusia (MBEA; Peretz, Champod, & Hyde, 2003) is an empirically-grounded quantitative tool that is widely used to identify individuals with congenital amusia. The use of such a standardized measure ensures that individuals tested conform to a specific neuropsychological profile, allowing for comparisons across studies and research groups. Recently, a number of researchers have published credible critiques of the usefulness of the MBEA as a diagnostic tool for amusia. -
Cortical Auditory Disorders: Clinical and Psychoacoustic Features
J Neurol Neurosurg Psychiatry: first published as 10.1136/jnnp.51.1.1 on 1 January 1988. Downloaded from Journal of Neurology, Neurosurgery, and Psychiatry 1988;51:1-9 Cortical auditory disorders: clinical and psychoacoustic features MARIO F MENDEZ,* GEORGE R GEEHAN,Jr.t From the Department ofNeurology, Case Western Reserve University, Cleveland, Ohio,* and the Hearing and Speech Center, Rhode Island Hospitalt, Providence, Rhode Island, USA SUMMARY The symptoms of two patients with bilateral cortical auditory lesions evolved from cortical deafness to other auditory syndromes: generalised auditory agnosia, amusia and/or pure word deafness, and a residual impairment of temporal sequencing. On investigation, both had dysacusis, absent middle latency evoked responses, acoustic errors in sound recognition and match- ing, inconsistent auditory behaviours, and similarly disturbed psychoacoustic discrimination tasks. These findings indicate that the different clinical syndromes caused by cortical auditory lesions form a spectrum of related auditory processing disorders. Differences between syndromes may depend on the degree of involvement of a primary cortical processing system, the more diffuse accessory system, and possibly the efferent auditory system. Protected by copyright. Since the original description in the late nineteenth reports of auditory "agnosias" suggest that these are century, a variety ofdisorders has been reported from not genuine agnosias in the classic Teuber definition bilateral lesions of the auditory cortex and its radi- of an intact percept "stripped of its meaning".'3 14 ations. The clinical syndrome of cortical deafness in a Other studies indicate that pure word deafness and woman with bitemporal infarction was described by the auditory agnosias may be functionally related Wernicke and Friedlander in 1883.' The term audi- auditory perceptual disturbances.